The world is a big place. To break it down for this blog, when in came to celebrating all the magical newspaper entries from the Society for News Designs Best of News Design competition I have broken it down into Canada (because I live and work here), the U.S. and the rest of the world. And that is not to diminish the rest of the world. The work coming out from newspapers around the world is astounding, which in itself is astounding given the times we’re in. Which brings me to where I want to start. The World’s Best Designed Newspaper, SND’s highest honour.
This year I had the great honour of being a facilitator for this competition. I got to watch them wittle down the entries to four finalists, and from there to choose one paper. The discussion was riveting. It came down to the New York Times, de Volkstrant, Het Parool and Die Zeit. Anyone who follows me knows I love de Volkstrant. Seeing it make the final was very satisfying.
After days of review and debate/discussion, Die Zeit came out on top. While all these newspapers have huge strengths, Die Zeit is worthy of this lofty title.
What makes a world’s best-designed newspaper? So, so many things. One word that was heard again and again was “considered.” Everything is so considered. All the little details. Nothing was overlooked. Things like drop caps, the spacing of words that wrap around images, kerning, and so on. But also the big things. Photo choices, how and when illustrations are used, how the text worked with art and the design. The funny thing was it was so well designed, it was remarked that the design falls to the background. Except when it doesn’t. The design is so remarkably clean, but sometimes they go big. And their use of photos and graphics? Considered. Everything is so artistic, they said. The judges could tell there was collaboration between editors and designers, which is imperative if you want to go from a nice paper to a top paper. Even more needs to happen to elevate a paper to world’s best designed. Congrats to Die Zeit for doing all of this and more. It shows.
While Die Zeit may not have many of those big “wow” pages, it still has some amazing, striking pages that take their clean and refined design to another level, and that clean design is already at another level. It really is a paper that rises above. I’ll start by showing some pages from Die Zeit, followed by a selection of some of the best pages from the rest of the world, Canada and U.S. excluded. You can see those here (Canada) and here (U.S).
Die Zeit is a weekly paper out of Germany. So that is one main difference from the papers it was up against. First, I will show a selection of some consecutive pages. Just to lull you into thinking it’s just a nice clean design. But this is what readers would see every day as they start flipping through their newspaper. After those pages, I’ve included some with sizzle. Text as design, illustrations and graphics, colour.
This one is one of my faves from Die Zeit. Every year one paper does a funky text design that grabs onto me and won’t let go. This was this year’s. I love the bend, that the text is still so well spaced and readable. The E. And they did more incredible text designs. They made a chicken out of text. A chicken! Wait for it. It’s coming.
This page is just funky. That’s all. I love the text treatment. The border. The pic. It actually reminds me of a design I once did, just better. So good.
A chicken! Out of text! Over a two-page spread!
I’ve included a few more separately. They were too good to be missed.
And so so many more stunning, smartly designed pages. This slide show has a number of them, but it’s still a small sampling of the work that comes out of this paper every week. Just such amazing attention to detail on every page.
The rest …
There were more than 3,500 entries in this year’s competition, up from the previous year, which is encouraging. Of those, there were more than 800 winners. If that sounds like a lot, keep in mind the 3,500 entries consist of what designers from around the world considered their best work, work worthy of award consideration. I look at 500+ front pages every day. That’s just covers. I can’t even begin to fathom how many pages are produced each year. How many great pages weren’t entered.
Alas, you’ve seen Canada. You’ve seen the U.S. Here is a very slimmed down selection of pages from the rest of the world. One of the things I love about newspapers from other countries is that they often look so different than the typical North American newspaper. They take a different approach, have different design philosophies. But one thing is clear with all them: they want to wow their readers. This will mark my last post from SND 43, but it may not be the last you see of some of the pages in this post as I try to gently coerce the incredible designers behind some of these pages to talk to me about their work. First up, Politico Europe and Politiken!
There is such a range of pages from Politico Europe. A lot are illustration-driven. And the illustrations are beautiful or haunting or striking. I will start with the snowman. Every time I saw this little guy, and the person in the window, I felt something. I want to feel happy. But then …
This spread is so well done. The art is striking, the headline is strong, both words and design. It’s clean, but with some surprises. The headline is almost jarring as set up, but I feel it’s supposed to be. It’s not the age of peace, after all.
In this slide show, again, there is a great variety, starting with this dark image, and ending with a section about doers and dreamers that makes me smile. Every page makes me smile.
I’ve long been a fan of Politiken. I feature pages from this publication on my Instagram frequently. This was a page I featured here. I put it in with my Christmas collection even though I wasn’t sure if it was meant to be a Christmas page. But the entry was called wrapping paper! So it is.
And now for something completely different. The next two pages are from the same award-winning portfolio by designer Caroline Niegaard. What strikes me about these is that they are chaotically bold. They are full of energy.
And many more. I love that this paper takes risks. And that its work is so varied. The last three I’ve chosen to show are completely different, but still within character.
Below are some others I have pulled out to highlight. Just some of my faves, but there were so many more incredible entries from other papers. First from de Volkstrant, a page that was featured on my Instagram, and then two from Dagens Nyheter, which I think does an incredible job on covers regularly.
This page from La Nacion is just so lovely. There is another from them in the slideshow.
Arab News has many great pages, but this opinion page really jumped out at me. I love the illustration, and the page itself is just clean and crisp. The American flag features prominently in pages, particularly opinion pages, around the world. It’s used in so many different ways to convey so many different ideas.
There are a few more South China Morning Post pages in the slideshow. While this is one really works because of the illustration, it was just such a compelling illustration. For the most part I didn’t include pages that won just for illustration. But they also used the small bit of display text so well. I am positive the space in the top left was left for display copy.
And the final slideshow from SND 43. There is a wide cross section of pages from multiple publications, such as The Age, The Guardian, The Day, Economic Observer out of China and more.
And that’s it. Another year, another awe-inspiring competition. Inspiring is the right word, as it would be impossible for any newspaper designer seeing the incredible work submitted to walk away without some new ideas, some extra enthusiasm or desire to push just a little harder.
More than 3,500 entries. That’s more than 3,500 newspaper pages (way more, as multiple page entries like sections are one entry) that designers and newspapers around the world decided were their best, and submitted to the Society for News Design‘s annual design competition. Nearly 800 winners (798 Awards of Excellence, 68 Silver Medals and 18 Gold Medals). So how does one winnow that down into a blog post? One doesn’t! I tried. Not a chance. So I started by breaking out Canada due to my obvious Canadian bias! But there are still more than 700 left to choose from. So after that, I attempted to cram the rest of the world into one post, but nope. So American papers get their own post, followed by the rest of the world. Even still it’s challenging. Despite newspapers falling on tough times, designers are killing it. So this is an act of curation based on my tastes. And leaving out dozens upon dozens of entries that I dearly loved so that this doesn’t go on forever.
I had the good fortune of being a volunteer facilitator for the second year in a row, for the organization that truly changed the arc of my journalism career. Beside my desk sit five tattered SND books, which they release annually capturing the winners of these competitions. I am beyond humbled to be in three of them, one for a portfolio of work. I had six books, but one got stolen or borrowed and not returned. Do I begrudge that person? No, because my path started by … borrowing two from my first newspaper job when I left. One of those is missing. That’s just the circle of design life.
For SND 43, I was part of the World’s Best-Designed Newspaper competition. Results will come soon. But here, I present the individual entries. If you’ve not been following along, a quick summary of awards. AoE is an outstanding page, one that is deeply considered, uses typography and/or white space and/or art, etc. incredibly well. It’s not design for design’s sake. It is designed with purpose. A silver rises above even further, is exceptional among the outstanding. It could be considered state of the art. And gold. Well, on a gold page, it needs to rise to near perfection, above the outstandingly exceptional. It should be hard for a judge to find a flaw. That is why there are so few. Kerning between two letters, a crop that seems just off, too much or too little white space. All sorts of tiny details prevent a page from being elevated to this level. Because of that, finding the best way to present this (by paper, by theme, by region) is so challenging. I will start with the only gold medal for a portfolio of design (there was another for illustrations).
Brandon Ferrill, Washington Post, Gold Medal for portfolio
The first page in this slideshow was really the talk of the weekend. Universally loved. And fun. There were some hard pages, some big subjects in 2021. COVID-19 was still raging, the Capitol riot, the Taliban in Afghanistan. And so on. And then we have this happy-making page. The entire portfolio is striking. That judges moved an entire portfolio to gold says so much about the quality of this work. And trust me, you will see a lot more from the Washington Post here. When they go big, they win. We win.
Facilitator’s special recognition
At last year’s competition (my first), two pages immediately took my breath away. And it kept piling on. I waited for that experience this year. Nothing will compare to that first experience at SND. Not because the pages aren’t just as exceptional, but you start thinking differently, more critically. You know what can be done. What’s out there. But this year there was a page that really struck me (so many did). But I kept going back to this one. And it wasn’t the Washington Post, the New York Times, the Los Angeles Times or the Star Tribune. It was the Des Moines Register. Maybe it is because I am a champion of the underdog. Maybe it’s because it uses newspaper clippings, which doesn’t often work but really does here. It’s so smartly done. Maybe the lack of colour. Seemingly simple, but quite complex. And the judges must have mostly agreed. It won a silver medal.
U.S.: The Big 4 conference
When it came to papers in the U.S., the four I mentioned above really stand out: New York Times, Washington Post, Los Angeles Times and Star Tribune (Minneapolis, and employer of my most recent featured designer, Stacie Kammerling). I will give each paper a slideshow and little blurb. I will exclude the portfolio above from the Washington Post below.
I tried to choose a favourite. I really did. But the first three here are so close, for very different reasons. Some pages are driven by illustrations, some by text alone. I’ve said this before: A good illustration is good on its own, enhanced by a good design. But then there is just good design, and designing with text is skill. Also, when it comes to opinion pages, the Washington Post is among the best in the world, if not the best, largely based on smart illustrations. And I had to narrow this down. I cut some amazing pages out.
The New York Times
What can I say about the New York Times. It’s funny that it’s known as the Gray (Grey) Lady. Because once you get past that iconic grey cover (much less grey than it once was), and past the news section, it’s a marvel. Design beyond most designers’ wildest imaginations. The kids section alone is a masterpiece. Truly brilliant.
There were so many jaw-dropping pages from NYT, so this is truly just a snapshot of the work they produce. There were some I couldn’t do justice to as it would require seeing the entire section. I have included four pages from a section about the struggle of mothers because of the subject matter, and because of the judges’ comments. The section, they believe, is designed in a way intended to make you uncomfortable. It’s far from a standard design. It is jarring. I am so envious. If they are ever looking to hire a designer with a Canadian perspective, feel free to reach out. I accept. In a twist, the one A1/front page I included is so strong because it’s grey. I wrote an entire post about it when it came out in early 2021. The first two pages in the slideshow is two of my faves from the competition. I love little pictures. And the god page is boldly and smartly done.
Funny thing about all of these four is that if you look at the front page each day, while they are well designed (particularly the Star Tribune, which is just a nice, clean, newsy front most days), they don’t look flashy. But then you get inside. Or then you have those big days. And wow. What is absolutely paying off for the Star Tribune is the state fair. There are always beautiful pages that come from there. To see more Star Tribune pages, other than what I’ve included here, see my recent post on designer Stacie Kammerling. A much more serious story this newspaper has handled so powerfully and with such grace is the George Floyd story. Just incredible, sensitive, yet provocative, boundary-pushing work. I will start there. Then to some fun and fair stuff (the contrast of last year’s fair and this year’s fair in cartoon figures is magical), and I have even included one of those hard-working front pages. And yes, I cut a lot again.
Los Angeles Times
And finally, the Los Angeles Times. Perhaps my favourite paper from last year’s competition. I still absolutely loved it this year. I have started with pages that just use design. Brilliant and bold typography, strong photos, creative white space. Then I get into breathtaking illustrations, followed by a few pages from a special section, which is a clear strength of the Times. They had some outstanding complete special sections, but again, I had to make some choices.
Having these papers down here is not meant to dismiss any of them. They did some incredible work. I had to pare it down somehow. You can see them all here. Below are a few outstanding pages separately, and then another slideshow with more.
This page from the San Diego Union-Tribune was one of my top pages from the competition. It’s a new take on using tallies. It is so well executed.
I put this Houston Chronicle page in for its simplicity. Proof that you don’t need to do big and wild designs to look good. I love it.
This Courier Journal (Louisville) page is so compelling and is a creative play on the COVID imagery we have seen again and again. This is new. Very clever.
Here is a selection of pages from The Business Journals. They had a number of winners. They are doing such smart things with illustrations and text. The text on the first page is both understated and bold at the same time! Small, but reverse white on red with a touch of transparency.
And last but definitely not least, a selection from some other publications. I am positive I will look through the pages again and curse when I see a dozen that I forgot about. That’s how much there was to look through. It is a tribute to the incredibly hard-working and talented staff at all the newspapers or news hubs. Thank you for all your work. And your readers do too, even if they don’t know it. It’s hard to know what goes into not only the execution, but also the conception. Amazing.
So there you go. Print is alive. I just proved it.
Another year, another Society for News Design Best of Newspaper Design competition! For the second year in a row, I was honoured to be a facilitator, this year in the category of World’s Best-Designed Newspaper. What a thrill. Results of that will come out on March 28.
I feel like the competition could give me fodder for months and months of content. But I will restrain myself to three posts. The first will be on the outstanding work done by Canadian papers. Next will be the rest of the world (so will be much longer!). Then finally World’s Best.
I know I am a broken record, but SND means so much to me. As a print design lover, it first and foremost offers a community of like-minded people. But it also still celebrates print design in a time when that is becoming less frequent. Looking at you Canadian media awards competitions. So many of those involved in print design are behind the scenes. Sure illustrators and photographers get credits. But art directors don’t. Page designers don’t. Headline writers don’t. But without these people, the information you get would be dull.
Canada produced some incredible work this year. However, because I have been following print design much closer over the past year, both here and on my Instagram, not much here will be new to anyone who follows me! It was a different experience this year at SND 43, as there weren’t many surprises, at least from Canada. But that doesn’t mean it wasn’t exceptional, and doesn’t mean I won’t highlight it again.
There were only four newspapers to submit for awards this year, which is such a tragedy, as I know there is other amazing stuff going on in Canada, particularly with my soon-to-be former employer Postmedia, particularly the National Post. They are still producing some of the finest pages in the business, particularly in Canada. And much of that is a credit to one of my former featured designers, Raina Toomey, who moved on to the National Post in late 2021. Postmedia stopped submitting, I believe, after Gayle Grin left. She recently wrapped up some consulting at the Toronto Star, and her touch is obvious there. There were more than 300 entries overall from Canada, more than 3,500 in the competition.
The Globe and Mail won 25 awards, including 24 Awards of Excellence and one Silver Medal. To explain, an AoE is for outstanding work. Work that stands out, goes above and beyond. A silver medal rises above that, just on another level or through a higher degree of difficulty. There are also gold medals, though no Canadian publication earned one this year. For a gold, judges should have a hard time finding any flaw, down to kerning between two letters (a topic that was discussed this year, with a comment: “You could almost fit an i in there.” It should be state of the art, challenging the industry norms. The Toronto Star won eight AoEs, Le Devoir won 5 and 24 Heures 2. I won’t show all the all work here, but a selection from each.
Globe and Mail
I won’t talk too much about each page for the Globe as I have talked about the paper a lot. Things I love about the Globe are the use of illustrations — and the quality and sophistication of the illustrations — as well as its bold and smart use of white space.
This was Canada’s only medal, for illustration by Connor Willumsen.
This was one of my faves from the Globe this year. There is so much going on. A lovely illustration by Kathleen Fu. Newspapers, she’s incredible. Take note.
Here are a few illustration-driven pages. There is some really lovely stuff here. I love what Canadian papers do with their Remembrance Day covers. This one by the Globe was so well done. Elegant. Illustration by Kayla Whitney.
And a few more. The Globe does so much with their design, particularly on Saturdays and features sections. I loved the bear cover. It works for the Globe, going so dark on dark, because their cover is on glossy paper. That design might be lost on most papers. Congrats to the Globe for a solid year. Being March already, I can tell you they are off to a good start in 2022 as well!
Of course I have a soft spot for the Toronto Star. I worked there, and worked directly or indirectly with the Star or Torstar for more than half of my career. Anyone who follows me will know how much I loved the page that came out after the discovery of unmarked Indigenous graves in Saskatchewan. It was so powerful. Here it is, and a few more.
I just loved the imagery here. It was so powerful at a time that needed something powerful. Something to keep the focus on this issue. It’s striking.
And here are a few more. The Star decided to invest in its print product in 2021, which was such welcome news, adding four entirely new positions, including an art director, Becky Guthrie, formerly of the National Post. You can see her influence. I hope that we continue to see such strong work.
I don’t see Le Devoir as often as the previous two. But I love the design. It is smart and refined. It looks European. Nice clean lines, often simple. Here are a few top-notch pages from them. I will show four of these off individually as none have appeared here or my Instagram, starting with my fave of their submissions.
I love the contrast. The love the lines. The beautiful illustration by Audrey Malo. It is so clear where your eye is supposed to start, and clear that it’s not supposed to stop there. So well done.
The one above and below are both driven by the design, not an illustration. A great illustration is great on its own. I can be enhanced if used well. But these are just nice designs, with a basic image, images that couldn’t be more different. And below, the little condiment spills take this page to a new level. Love it. Smartly filling in some white space, but also using what is left wisely.
And then an illustration-driven page. It’s a nice, simple illustration (for a talented illustrator! Who just happens to be Cécile Gariépy). And it’s used so well. The text doesn’t take away from the fantastic art. Nicely done, Le Devoir.
And finally a couple from 24 Heures. Both illustration driven. Smart art, well played, yet completely different illustration styles. Even the supporting material is played differently, with the head down the side on one, and on the art on the other. But it doesn’t take away from the art. It uses the space well. First by Benoit Tardif, next by Pauline Stive.
Just some incredible stuff. And this is just from Canada’s entries.
So that’s that. I am so happy to see there is still some amazing work going on in Canada, and around the world. Up next will be about some the best newspaper pages from around the world.
As Russia’s brutal invasion of Ukraine entered its first full day, we got to see how newspapers around the world displayed to their readers what was happening. Big, powerful photos (three stood out as the most commonly used) big, bold, powerful headlines. When events like this happen (though there hasn’t been an equivalent to this in a long time) we see a lot of similar ideas. We also see the power of newspapers.
Below is a selection of powerful newspaper front pages. I have chosen the ones that almost made me gasp. The power of print will never be lost on me, especially in times of crisis.
Newspapers in Canada
The photo used by National Post was seen on papers throughout the world and there are more that use it below. The Toronto Star and Globe and Mail used the same photo and the Globe and National Post used nearly the same headline, about Ukraine standing alone.
The faces of war
When war strikes, we see the casualties on front pages. The injured. The common person. Sometimes the dead. This woman was on papers all over the world, either this pic or a similar one, as seen on the National Post cover, and below. As the woman further down was also common on a lot of pages. This is what war looks like.
Others from the U.S. and around the world
And other newspapers made different choices. Here are a few more compelling pages from around the world.
It was a big news day in Minneapolis as news also came out about the George Floyd case, another story that has caught the world’s attention over the past nearly two years. The editors had to balance a huge local story with the biggest international story.
Sadly I am sure there will be many more pages like this over the coming days and weeks. War is brutal. War is ugly. Hopefully newspapers around the world can help hold Russia to account. To show the world, to capture for history, the brutality of this unnecessary war.
Old news? Booooooring! Old newspaper designs? Exciting! If you disagree, you’re in the wrong place. Beside my desk, on a special table dedicated to newspaper design, sits a handful of Society for News Design Best of Newspaper Design books (as well as some awards and the National Geographic from June 1985, featuring the young Afghan girl with the piercing eyes). I still look through the SND books, and am amazed by how the newspaper design has held up years later. So when I thought about posting newspaper pages from the previous week, I though certainly those would hold up!
Most days there is a newspaper front page or two that stands out. Maybe it will never be award winning (recognition for newspaper design is becoming an endangered species), but there are pages worthy of attention for the effort and creativity put in. I look through more than 500 pages every day. Some days nothing catches my eye. But that’s why it’s worthy of attention when something does.
So, life permitting, I’m hoping to post a few of my fave newspaper designs from the week prior. I post daily on my Instagram. I will generally choose from the pages I posted there, though there are occasionally pages I don’t get around to posting.
These short posts will be driven by the pages not my words, unlike the babbling above! But I had to set it up somehow. Don’t judge me.
Here are a few from last week.
Der Standard Austria
I made no secret in twitter and my instagram that I loved this page. It is not lost in me that it is completely driven by the art, which I find stunning and so smart. Print and digital together. Newspapers barely visible through the sky. and it is to celebrate the 10,000th print edition. How many more will there be? Is that what this hints at? The demise of print or how print and digital will work together for a common goal?
The art is being auctioned off as an NFT (non-fungible token).
A nice Saturday page by the Toronto Star. It’s likely every weekly roundup will feature at least one page from a Saturday publication of Canada’s big three
Monopoly houses are nothing new in design. I’ve done it. And I almost did that t another time before creating one of my favourite pages, pivoted below, before taking another approach. But in this page the for sale signs make add that extra touch.
This was mine. I thought the design was begging for a green monopoly house, given the headline. But I took a different path. If you can believe it I did the art myself.
Tributes to Elza Soares
Here are some tribute pages to great Brazilian singer, Elza Soares, the samba queen as someone remarked on Twitter. The Metro page is amazing but the others, Correio Braziliense, O Estado de S. Paulo and Folha de S.Paulo, are great as well. Nice tributes.
There were some other great pages. You can see all of the ones I like on my Instagram.
Newspapers often go all out on Christmas Eve, often with stunning illustrations or photos on their front pages. This year is no different, except that it’s very different. With Omicron raging, lockdowns, limits on gatherings. It’s been a hard year or two for most, regardless of the season. No commentary on religion here. Just design and the feeling of hopefulness the season often brings. And the incredible front pages don’t hurt! After about two years with COVID-19, it’s nice to have hope so I appreciate these covers even more this year.
For whatever reason, Canadian newspapers seem to blow out their covers disproportionately compared to other places in the world. I looked through about 20 Canadian covers and at least half had very Christmas-y covers. The proportion of America papers was much, much lower, which was surprising. Many didn’t publish today.
Canadian Christmas Eve
Alas, the covers. First I will start with Christmas Eve in Canada. Each of Canada‘s big three has a very different feel, in line with its target audience. First up, the National Post. The stained glass look and the black really pop. It’s such a striking visual. The National Post has been doing this since its first year, 1998, and every year I love it. It’s become a Christmas tradition. It definitely has a stronger religious feel than many others, but that is by design. Of course their vertical flag, as it often does, helps creating a more powerful visual.
Next up, the Toronto Star. The Star has recently hired a handful of staff to focus on print visuals, including an art director, formerly from the National Post. It shows. This illustration is lovey. Happy-making.
Then the Globe and Mail. Like the National Post, the Globe has been doing a similar cover for years. A beautiful oil painting, from the Art Gallery of Ontario, with a little text. In fact I have learned they have been doing it since before 1998 at least, featuring art from its parent company’s art collection. Most years it’s more of a winter theme rather than Christmas.
Then there is the Guardian from Charlottetown, P.E.I. Just a pretty, hopeful and happy painting, submitted by the very non-winter-named Summer Kelly, 11. Amazing work from a young artist.
Around the world
And now for covers from around the world! This Het Parool cover is one of my faves. I just find the illustration to be so magical and eye-catching/pleasing.
Reporte Indigo is known for their illustrations. And they don’t disappoint here. So classy. Stunning.
Kleine Zeitung has a beautiful illustration but they don’t gloss over COVID. It’s part of our lives.
This cover from de Volkstrant is just simple and elegant. Really pretty art.
And this McDowell News front page. It’s different! Christmas stats. Very American. Nice contrast. It’s fun and informative.
There were more, but these were the tops that I saw. Thanks to all the newspaper designers out there, still doing their thing. I appreciate how much effort still goes into these pages. Happy holidays, everyone.
The Villages Daily Sun goes above and beyond in visual journalism, print specifically. Colin Smith and Adam Rogers tell us more.
By Brad Needham
Print might be on the way to becoming an afterthought for some newspapers, but not the Villages Daily Sun in Florida. It is proudly and heavily visually designed for print. They don’t even have an Instagram account. I know because I posted a front page on my Instagram account once and couldn’t, for the life of me, find their Instagram handle. Yet shortly after I posted it, they found me! An editor sent me a note saying they don’t have Instagram and they are a print-first publication (but they do have a Tumblr account!). As a longtime mostly print journalist and print designer, I love that. So naturally I asked them if I could talk to a designer. Not only did they oblige, they sent me two! And they each sent pages. And a visual philosophy.
I am so thankful to have heard back from both Colin Smith, the senior project designer, and Adam Rogers, managing editor of innovation. I had a lot of fun reading through their thoughtful answers, looking at their stunning pages, and feeling like I’m not alone as a print lover in a digital world.
The first thing they sent me was their design and visual philosophy document. It is fun to read. Here is how it begins.
I knew right away these were my kind of people. They have designed a newspaper to reflect their community. Not just in content, but design. Amazing. How can you not love a philosophy like this?
The answer? You can’t. You must love this, or you’re on the wrong blog. This blog is for all the print that’s fit to print.
I will turn it over to Adam and Colin. Eds. note: these responses are from early September.
How did you get into newspaper design? Adam: It was something I sort of stumbled into as a student at Youngstown State in Ohio. My degree is in TV and video production, but I was minoring in multimedia design. That led me to a page design opportunity at the student newspaper The Jambar where I ended up working for four years and decided to focus my career efforts on print design.
Colin: My academic background is urban planning and architecture. I started news design at my college paper, then it became my first job out of college. I’ve been in the industry ever since.
What do you like about newspaper design? And what makes it different from other design? Adam: I really like that you have the opportunity to start with a fresh canvas every single day. With 365 editions each year, you can experiment. See what works, what doesn’t and learn from it. And I feel like whether its design or general knowledge of the world, I learn something new every single day.
Colin: Philosophically, I like being able to tell stories to wide audiences on a daily basis. I especially love working on redesigns — the chance to weave visual worlds for our readers to explore. On a personal level, I like the frequent, immovable deadlines of daily news production — it’s perfect for a procrastinator like me.
What was the most fun you have had with a design? Adam: I would have to go back to a doubletruck presentation I worked on during the 2016 election showing all of Donald Trump and Hillary Clinton’s connections to each other and to the state of Florida. It involved some colourful photo illustrations of the candidates riding flamingos. Honestly, Colin Smith and I had a lot of fun throughout that entire election cycle creating illustrations for a variety of topics along the way.
Colin: The Daily Sun has definitely been the most fun at I’ve had at a paper. I love redesigns, as I’ve mentioned, and this was at the first paper where (aside from the nameplate) nothing was off limits. It’s a paper that wants to have fun in a community built for having fun. That’s opened up so many paths visually. The editor has been a huge part of that evolution. She really has helped push me in directions I would have never thought exploring at other publications, and I think it’s really made a unique product in the process.
Do you rely on one design principle more than others (white space, text as design, colour, cutouts, etc.)? Adam: At the Daily Sun we focus a lot on just being consistent. We have built a beautiful core structure for our newspaper that highlights our colour palette and carefully selected typography. From there we make strategic decisions on when to break from the templates. And when we do, we usually go pretty big.
Colin: Great question. When in doubt, I go to the grid. Barring that, then I tend to focus on clean typography and common alignments. I don’t like to modify my type too much, so generally it’s one colour and one alignment. And you can’t go wrong with a beautiful dominant image. I tend to shy away from cutouts mostly because, after 20 years, I’m just tired of doing them (although I will if I must, but it’s not my go-to move). And I’m always a sucker for a symmetrical layout.
Tell me about a design idea you loved that was rejected or just wasn’t working so you had to abandon it. Adam: I joke a lot about having a pile of abandoned pages that I burn for warmth during that one week of winter we get in Florida. And that’s true to some extent. After a decade it’s tough to narrow it down to one that stands out. Our projects and pages grow and evolve so much during our design process that I’ve learned to not to get emotionally attached to an idea. We try to put the our readers and the storytelling above our own egos.
Colin: Too many to count, honestly. I used to revise and revise and revise before showing a page/project/redesign, but that philosophy doesn’t work at a paper where we have a very deliberate style we’re going for. So now I do a quick mock-up, get input from the editor to see if I’m going in the right direction or not, then I either refine what I’ve done or archive it and try something else. Honestly, I’ve never flat-out thrown a design away. If something doesn’t make the cut, I’ll usually file it away possibly for use later. Generally if I’m really excited about a design, I’ll find a way to get it used. Although I’ve had print/web designs implemented then discarded after I’ve left a paper, so I guess that’s stung a little more. But such is life.
I like the idea of your design direction matching your community, i.e. a heavily designed community begets a heavily designed newspaper. Tell me more! Adam: If you were to visit The Villages (which everyone really should some day) you would see that the developers put a lot of time and thought into the small details. We like to say that the community is designed to take you back in time, but you can’t always hit on exactly when. We’ve taken their fun but meticulous sense of design for the community and have made the newspaper reflect that. From the colour palette down to our use of woodcut and victorian flourishes, we have pulled inspiration from all corners of the community.
Colin: I believe the true power of newspaper design is the ability to create a visual microcosm of the community that is filled with all the surprises, delights, familiar places and new experiences that one expects from a journey in their city or town. I believe the areas of the paper should capture the personalities of a place (quiet cafés and loud clubs, bustling streets and quiet leafy suburbs). Visually, The Villages is a master planned community with several strong visual identities. On top of that, residents here have very active lives and fascinating stories to tell. There is always so much going on, and so much life to capture, that it really puts the onus on the Daily Sun to be as energetic and vibrant as our readers.
Visually the editor challenged me to come up with an overall design that was both nostalgic and thoroughly modern. That’s why you’ll see Victorian text flourishes paired with vibrant citrus colors to create something that blends a fondness for the past with an optimistic vision of the present. The goal was to create a kinetic vibration throughout the entire publication that is both familiar and yet also completely unique to our community.
I’ve been told the idea your covers are based on (lots of small bits of information) carries on on the inside. This concept and a few others seems to make this paper stand apart from others. Can you show some examples and tell me why you decided to do that? Adam: That is very true. While The Villages may be a mecca for retirees, they break every stereotype for seniors imaginable. We are blessed to have a very active and engaging community to cover. Our readers are very busy and we want to respect their time. So we implement of a lot quick hit information and alternative story formats that make the news quickly and easily digestible. We use this approach in every section in concert with traditional longform presentations.
Colin: Adam probably already went into this, but just in case he didn’t, here you go. Even though the vast majority of our readers are retired, they are still quite busy. Between social gatherings, planned events and daily excursions we owe it to our readers to get as much information into every page as possible. Since Villagers come from around the U.S. and the world, we try to get as much into each edition as possible. Our high ad stacks make it difficult to get a lot of traditional articles on a page, so instead we run a collection of briefs, photos and alternative story formats along the tops of inside pages (we call them attics) with a longer read below it.
It might be like picking favourite family members, but if you had to pick a few favourite pages, what would they be and why? Adam: First I would go back to a 2013 page on the 50th anniversary of the March on Washington. I worked on this page with the help of executive editor Bonita Burton and it evolved from a traditional centrepiece that we just kept pushing bigger and bigger. Our design and typography has changed a lot since then, but this did land me my first SND Award of Excellence and I was truly humbled. Then I would say a 2016 front page information graphic that was part of our multi-year “Redefining Justice” investigation into Florida’s death row. It really pushed my organizational skills and I spent a lot of time making sure the information we were presenting on a complex topic was digestible. And then more recently an inside page on the atomic bomb that was part of a yearlong series we did on the 75th anniversary of the Second World War. I really like working with historic photography and finding ways to present it in striking ways.
Colin: Ooh, that’s a good question. I mean, I’ve been redesigning our paper for so many years it’s hard to pick just a few. But if I had to: + Redesign/Template-wise, I love our A2-A3 world map — I really had a fun time drawing the map, and the page has so much personality. We used to have a sea monster on the page, and I do miss it.
+ We have some templated local front pages that really have a lot of visual oomph that I’ve enjoyed putting together, too.
+ When I’m not redesigning the paper, some pages I’ve worked on that I really like have been a Christmas cover with a Santa sleigh based on an 1800s patent application (we’ve gotten a lot of mileage out of that one, re-running it pretty much every year).
+ An oldie but a goodie, but I also really had a ton of fun designing our 2016 election coverage and doing those illustrations.
Tell me a little about your process. How do you come up with ideas? Adam: For our bigger projects, we huddle up a lot to brainstorm. Sometimes it’s really simple to just run with your first idea, but we talk a lot here about not stopping too short. One thing Bonita says to us a lot when approaching a page is “what can we do that we’ve never done before.” And then the brainstorming kicks off. Even if it’s not a huge project, just turning to one or two other people in your pod or in the newsroom can help elevate an idea or a page. We’re sort of all in this together.
Colin: Ideas for stories is pretty simple. Generally main stories are planned weeks in advance and special projects are planned months in the future. The bigger the project, the more the lead-time for visual discussions — from data visualization to the need for photo reporting and illustration. Actual designing for special projects doesn’t begin until about two weeks in advance, with final design beginning in earnest a few days before publication.
As far as the ideas, it’s a back-and-forth process where the narrative is weighed with how we’ll tell the story visually and one, the other or both are adjusted until we’re happy with the final result.
And that’s a wrap from Colin and Adam. But what fun. It seems like the Villages Daily Sun would be any print designer’s dream job. Thanks to both for all their insight.
From really northwest to regular northwest America, this newspaper designer is making the most of her opportunity at newspaper that loves its design
By Brad Needham
One of the things that frustrates me about trying to promote newspaper design is that it is often so hard to find out who is responsible for all the amazing designs I see. I would love to shoutout all the amazing talent behind the stellar newspaper front pages from around the world. But I can’t just turn to the masthead or page 2 and see, Cover Design by … as one might in a magazine. That’s why I was tickled when I posted a Spokesman-Review arts cover on my Instagram account and I got a response from the paper. They told me they would pass my message onto their designer (including the comment about wondering if the reverse text was readable in print). And then Caitlin Miller, the designer in question, contacted me on Twitter to tell me, yes, indeed, the text was perfectly legible!
The page just popped for me. The contrast. The big display. Smokey Robinson‘s eyes and the joy in his face, which is especially notable in a never-ending pandemic.
I have long been a fan of the Spokesman-Review’s design, particularly their front page. I think it’s one of the consistently best designed newspapers around. They give it their all and achieve solid, and sometimes outstanding, results. I hope I have the good fortune of talking to an A1 (1A?) designer one day (nudge, nudge!). Side note: I love that the Spokesman-Review posts, every day, its front page, other section fronts and historical pages on its website (link to Sept. 23 front page). The more we can celebrate print the better, and they have a lot to celebrate.
Being such a fan, naturally I asked Caitlin if she’d be willing to talk to me. And she said yes! While she’s not been in the industry long, she’s making a splash. And unlike most U.S. designers, her career started further north than this high-kilometre Canadian has ever lived or worked (and I lived/worked in Fort McMurray and Fairview, both Alberta, as well as Prince George and Fort St. James, B.C., which are pretty far north).
Caitlin talks about her growth as a designer. And she talks about working within the framework of your newspaper. Some papers, like the Spokesman-Review, really pride themselves on design. Other papers, particularly in the present print media climate or smaller papers, don’t go big on design every day. Caitlin now gets to work with a team that loves design, one that submits a pile of pages to the Society for News Design‘s design competition every year. And I bet that passion for design is contagious!
Here is our chat. I have sprinkled a few more of her eye-catching Spokesman-Review designs throughout the questions, and end with some pages from her pre-Spokane days in Alaska.
How did you get into newspaper design? I fell into it. What got me into print news was a semester working at The Sun Star as the managing editor at the University of Alaska Fairbanks. Certainly, no design experience! My job in that position was strictly editing and guiding writers (albeit at writers’ own discretion of accepting my edits, but that’s working at a college paper for you).
I kept my eye on the local paper as a possible job prospect in Fairbanks for a while. After I graduated, I was working at a hotel and would read the paper daily, including checking classifieds. Finally, a copyeditor position opened. I knew the former editor-in-chief of The Sun Star was working as an editorial assistant at The Daily News-Miner and hit her up. Funnily enough she had deleted my number from her contacts, but when she figured out it was me, she was supportive of my interest and put a good word in. I applied the next day, and a month later I was hired. I learned newspaper design on the job and taught myself a lot of what I now know, but I knew I couldn’t grow staying in Alaska, which is how I found myself at The Spokesman-Review. It’s a never-ending learning experience, and I love that.
However, I knew that I always wanted to work in newsprint. It’s a bit of a family legacy, with my grandfather and his father working in it, respectively in different aspects.
What do you like about newspaper design? And what makes it different? First, I like that I’m using both sides of my B.A. I hold a degree in English and art and being able to interact with both design and words is satisfying to say the least.
I was meeting with a writing mentor at a coffee shop one day, and as we were catching up, she had asked me where I was working, and I answered that I was at the paper and explained my job. We found ourselves in conversation about the benefits of a physical copy (versus web) reading of a newspaper. She opened my eyes to the beauty of page layout; she gave me a reader’s perspective, a perspective I’ve never interacted with before as a designer despite my own reading of papers. But things always look differently from another’s eyes, don’t they? Through her gaze, we discussed the way readers interact with stories, how a jump from the front page to an inside page, or a refer/tease, could bring a reader to stories they wouldn’t have likely known about otherwise. Not everyone thumbs through all the pages of the paper. How many of us non-sports people don’t give sports a single glance? Or maybe a parent only bought the paper to keep record of a story on the front page related to their child. Suddenly, that parent finds himself or herself on Page A5 reading about a column on a local event involving a nonprofit that seeks to benefit cancer awareness.
What was the most fun you have had with a design? My favourite pages are those with the most agency. In a way, this applies here, also. Those pages that I’m given a feature story or column with lots of art, I like being able to take the lead and do what I see fit with it. I like that editors who give me the content trust my judgment. They also know I’m not afraid to ask questions, so communication between us is so very important, including sending page proofs for them to see and affirm or correct where needed. Pages where I am given lots to work with, and pages with breaking news also are fun to work with. I’m really thankful for templates however, because sometime a page just needs that basic layout and nothing more, and that’s cool.
I hope I can, with the pages I provided, express the “most fun” I’ve had with design. It’s hard to explain otherwise, and these include my favourite pages as well.
Do you rely on one design principle more than others (white space, text as design, colour, cutouts, etc.)? I do a lot of cutouts. Always have. But, gosh, do they take time. It can really depend on the page I’m working on. Feature-y pages will likely have cutouts whereas hard news pages will likely not, at least from me thus far. Colour does play a role, oddly. Sometimes I look at a page after I’ve completed it and go, “Wow! How did this work out!”—and it turns out that all the photos visually correlate by complete happenstance. I tend to avoid lots of white space, however. But at The S-R, I’m learning the benefits of it. We use it far more than I’m used to, whereas before, I was very adamant on squaring everything off and making sure everything fits tightly on a page.
Tell me about a design you loved that was rejected. I don’t think I can answer this exactly how you want it answered, simply because it isn’t about something being rejected. I don’t think I’ve had an entire page design rejected before; however, I have had aspects of designs criticized and rejected. It isn’t a good feeling. But talking through it and learning from it is important. Maybe it’s something the design editors were avoiding you didn’t know about. Great. Now you know not to do that ever again. Or maybe it’s a learning experience between you and the more experienced designer who suggests the text be more horizontal in nature and less vertical. Awesome. Now you can take that experience and apply it to future designs that might have similar elements that could benefit from it.
It still feels crummy sometimes having your work criticized. But it’s worth it. The team effort is important, and you can learn a lot from working with others and seeing design through your critics’ eyes.
Are there any designers or publications other than those you have worked at that you are sure to look at? If I’m in a new city or town, or visiting family, I’m sure to pick up the local paper. It’s hard not to look at design now wherever I go. This includes magazine covers — it’s interesting the crossover between the two, like siblings of sorts. But I look at both general design, and what stories they put where, such as what the designer of that paper chose (or perhaps editors — this really depends on the size of the paper!) for the lead, down the rail, centrepiece, down page, etc. It can say a lot for what the town sees as important, and a lot of time localization is prioritized over national wire stories.
It might be like picking favourite family members, but if you had to pick a few favourite pages, what would they be and why? I’ll address my career thus far. I’ve noticed with The Daily News-Miner my favourite covers are the ones where I have the most agency. And perhaps the same can be said with The Spokesman-Review. While at the News-Miner, I have a handful of pages I love.
The News-Miner doesn’t like much for creativity, per se, but the Our Town page, a localized feature page that ran weekly, allowed me to kind of do what I want within means. And I loved it. I had a good knack of what was allowed on A1, but Our Town meant I could explore making cutouts, changing fonts, applying gradients. Many of these pages had strong interaction with local audiences who were regular followers of the editor of that page. And, I have to say, there is such satisfaction in knowing how well I did when that editor comes to and tells me the impact I made. I’ve also seen cutouts of various stories from various pages I’ve constructed framed, and that’s a whole other feeling on its own. At the DNM there are other front pages I love for other reasons, ones I’d include in a portfolio, but they certainly don’t hold an impact like the one’s that have made a personal connection with me emotionally. Maybe the emotionality of it sounds biased, but it really can help a person grow as a designer to know what they’re doing is good in some way or another.
As far as my work at The Spokesman goes, I haven’t quite hit that emotional satisfaction yet, but being at a much larger paper might have much to do with that. However, working with the Seven cover at the Spokesman (weekly entertainment feature section) really allows me to explore my skills as a designer, and there is much satisfaction in that. I really can’t wait to see where this takes me.
Tell me a little about your process. How do you come up with ideas? There isn’t much to say about this. Either I have a good idea of where I’m going with something or I don’t. A lot of times I can look at the content and know exactly what is going where, but I think experience has a role in this. And other times I might spend three hours just trying to figure out and experiment with where I’m going to take a page. I may even sometimes have multiple ideas in my head. It’s interesting, working at The Spokesman is such a different experience coming from a small paper. Before, a lot of decision making was solely up to me, regarding what stories go where and what art should appear where. At The Spokesman there’s an editor for everything, including photo placement.
The Spokesman Review has some exceptional designs. How much pressure is there to continually produce great work? Do you swing for the fences every day? The Spokesman staff is so supportive. However, while I’m fairly confident in my abilities, I certainly feel a lot of pressure! I took over the design of the Seven cover after a couple of months being with the company. Prior to that our A1 designer was doing the cover and he certainly has far more experience than I have. Chris Soprych is helpful in many ways. There are days where I just don’t have a clue what do with the art I get. Frankly, sometimes it just isn’t good enough to work with to produce an eye-catching cover. But then he shows me how he’d approach it and from that I’m able to learn different approaches. I’m thankful, and this experience is a huge part of why I wanted to join The Spokesman-Review.
Certainly, communication is important and helps relieve some stress. I’m not the only one who looks at the page or cover. And others’ suggestions can certainly make or break a page in its success. Constructive criticism is always important. And I really enjoy that so many people are involved with the process and looking at the final proof. I’m also coming from a paper prior to The S-R where I was the only set of eyes on pretty much everything, so it’s all been both a learning experience and a huge relief.
Do you have words for wisdom for young, aspiring designers? For the young and aspiring designers, remember we do this because we love this. Remember that behind the scenes we still make a difference and affect a reader’s interaction with the paper as whole. We’re not in this for the pay. We’re in it because we love what we do, and we love journalism. But also, for those who may feel stuck at a job that you feel no mobility in, don’t be afraid to extend yourself beyond what’s familiar and apply all over. Call. Talk to editors and tell them you want the job. It may seem old school, but working in newsprint is, believe it or not, still old school. Basically, don’t be afraid to chase your dreams, bug people and be adventurous!
Below is a selection of Caitlin’s favourite designs. She explains what made each of them special. We’ve seen the Spokesman-Review pages. That’s where she is now. This is where she began. “I really feel like the Seven covers for The Spokesman-Review show my potential as a designer in contrast to what I was more so limited to designing at my former job.”
My one issue with this page is the text wrap around the columnist’s mug has a weird break that I didn’t catch until months after when I was going through my portfolio and applying to other papers. Jorgy Jorgensen played a huge part in the Alaska community and touched a lot of people’s hearts. This page brought many people joy and the columnist received many thanks from the community for making it happen. It’s really special to be a part of the community in this way, even being behind the scenes.
This cover page was the moment I realized the power journalism has in a community and how a page designer can contribute to making an impact. It was also the moment when I knew I found the right career for me. There was a lot of excitement that led up to this page: it was the weekend and unplanned; our 12-page paper needed to be expanded into a 16-page paper, ads had to be moved, everything that was supposed to go on the front page got moved inside. At the time the governor of Alaska had vetoed the state budget, an action that would in turn affect all parts of the state and everyone of all ages. Many were upset by this — Alaska had been facing years of budget cuts already. I knew when I sent that cover I did something. And sure enough, I woke up the next day and discovered that at a protest, Fairbanks residents who didn’t have posters or signs to hold, used our Override editorial front page.
I feel like these pages really captured how the COVID-19 pandemic affected people (pages above and below). We weren’t expecting there to be a Midnight Sun Game that summer. The team that usually hosts the annual tradition cancelled the game due to the pandemic, but a couple of teams from the area came together to make sure it still happened. It was really a “beacon of hope” for a lot of people in a time when so many traditions were cancelled. I think Laura Stickell’s story shows the importance of community and how coming together plays a large part in human morale. It was our sports writer’s last day with the News-Miner and she sure went out with a bang. Great story, great photos.
Want to be featured?
I am always looking for newspaper designers to talk to, whether you’re at a college paper or the Washington Post. Reach out to me through the comments or at firstname.lastname@example.org.
By Brad Needham (but mostly by newspaper designers around Canada)
It looks as though making an election newspaper during a pandemic is just as hard as voting in a busy Toronto riding during a pandemic. That is to say not easy. Very little art, no gatherings, no big hugs or ecstatic faces. Despite the results coming in early (as I — and any experienced journalist — would have guessed!), there wasn’t a ton of fresh art used today. I admit I had delusions of grandeur, of waking up to front pages that blew my mind. I love elections, and I love election newspapers. What does blow my mind about these is that most of this work was likely done in people’s homes. That’s an incredible feat, so congrats to all the editors who made this happen. There are some nice looking pages, for sure. I hope for more tomorrow.
Without too much political commentary, and for those not following Canadian politics — which probably includes most of the world and a good chunk of Canadians — this was an interesting election to cover. A minority government that brought itself down and came back as a nearly identical — almost to the seat — minority government, with a Quebec nationalist party seeing the biggest increase (which was still tiny). Naturally, with $612 million spent, it has caused some opinions to be formed in Canada, including in the media. Some in support, some clearly against. That is captured in some of these pages.
The papers that used fresh art and took a more neutral approach win my election newspaper edition of the this blog! The Globe and Mail wins a majority, with the Winnipeg Free Press filling the role of official opposition. Here is a selection of pages from this election, with little to no commentary on the content or design. Just the pages for your viewing pleasure.
And now for some more political leaning covers
Most newspapers have a slant of some sort. These papers chose to display theirs, subtly or obviously, on their election covers today.
September 11, 2001. 9/11. It was a day that changed the world. The attacks in New York, heard and seen around the world. Today marks 20 years since that infamous day. I remember my first indication something was up was waking up to an email from a friend who worked at the United Nations saying, don’t worry, I am safe. Shortly thereafter the world watched as a second plane flew into the World Trade Center buildings. I was in my final year of journalism school so wasn’t in a newsroom, but I have heard the stories. The chaos. Tearing papers apart. Trying to get special editions out. The Guelph Mercury apparently put out an edition with the attacks on the cover, removing all the stories that were there, but left the turns from the original stories inside.
September 11, 2021. Twenty years later, I look at some amazing newspaper covers as the world remembers and reflects on that day. Some are what you would expect. Some are not. It was a tragedy on an unimaginable scale. But this is about the creativity in newsrooms around the world. How do they tell the story visually? I will let the covers mostly speak for themselves. There were dozens (the vast majority of papers in the U.S. had a big 9/11 splash) so I have chosen a few that cover the themes I saw. Some just wildly creative and powerful, simple and elegant. Some showing current photos, some showing destruction. Some taking an artistic approach. Here they are.
This Newsday cover does so much. It’s different than many others. No towers, no planes, no destruction. Just a little girl. A New York T-shirt. A monument remembering those who died. A single flower.
Definitely the strongest 9/11 front page in Canada. The Toronto Star uses a big, powerful image. So well processed. An image similar to this was used in many newspapers. It was just used better here. Minimal text. Stunning.
The Dennik N page from Sept. 10 and The Economist from Sept. 11 do something similar with the numbers, similar conceptually, but they look so different. These are two of my favourites. Simple. Beautiful. I love so much that one line, on the first 1, makes all the difference. It takes it from numbers to buildings. So smart.
This is a creative page by Politiken. It is so simple.
These two — above, USA Today, and below, Chattanooga Times Free Press — went with the big photo of the Tribute Lights. Many papers took this approach.
Both these pages used an art-based approach. Above, Salzburger Nachrichten is quite bold. Below is the Longview News-Journal.
The Jyllands-Posten uses a different photo than most. No destruction visible. But the people. What a photo.
And the Las Vegas Review-Journal. It uses a similar photo to the Star, without the person. This photo was used widely today.
The Anniston Star went with one of the most terrifying photos from 2001. These photos will never not send me right back.
And below are two pages from 2001. I have looked at pages from this time in a previous post, so I won’t go too far into it. The New York Times and The Sydney Morning Herald, Sept. 12, 2001.